According to the Mapping Sculpture site, the “sculptor, medallist, architectural sculptor, monumental sculptor, architectural modeller,” who was born in London, worked on The Temple Bar Memorial, exhibited busts and medallions at the Royal Academy, and advertised that his firm produced a wide range of domestic, ecclesiastical, architectural, and other sculptural work. One gains an idea of his range by comparing his Atlas and two caryatids in the traditional classical style with his more realistic bas reliefs of shipbuilding and mining on the façade of the National Provincial Bank of England.
His son, Charles Henry Mabey Junior (1867-1965), followed him into his profession, joined his firm, and probably took it over in later years. — George P. Landow.
- Atlas and two caryatids
- Time and Fortune Draw a Curtain Over Temple Bar
- Queen Victoria's Progress to the Guildhall London Nov. 9th 1837
- Plaque marking the location of the original Temple Bar and the ancient border of the City of London
- Decoration on 1-4 Temple Gardens, Inns of Court
“Charles Henry Mabey.” Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951. University of Glasgow History of Art and HATII, online database 2011. Web. 27 July 2011.
“Charles Henry Mabey Junior.” Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951. University of Glasgow History of Art and HATII, online database 2011. Web. 27 July 2011.
Speel, Bob. “Sculpture on the Victoria Embankment” Web. 27 July 2011.
Ward-Jackson, Philip. Public Sculpture of the City of London. Liverpool: Liverpool University Press, 2003.
Last modified 19 December 2011